In the 1920s, Frank Lloyd Wright designed a school for the Rosenwald Fund, a philanthropic organization which built over 5,000 schools for African American students who, under Jim Crow laws, were required to pay for their own educational facilities despite paying taxes. Mabel Wilson explores Wright’s plans for the Rosenwald School as well as the architect’s interest in progressive education reform throughout his career.

Here is a site on which art lovers and collectors will find informations about their favourite artists, but will aslo make discoveries by serendipity and images associations.

This site opens at a first sight like a commercial site, but it contains nuggets, like the ‘Education‘ section, which is particularly important to me. Related artists pages (modern and contemporary) are well conceived, with the last tab ‘Related Artsits’ which allow to jump on near artists by work or concept.

A rediscovery of Piet Mondrian’s early works shows the Dutch painter in a new lightArt

By Giovanna Dunmall

If you thought Piet Mondrian’s art was all abstract geometric forms and primary colours, a new exhibition in the Gemeentemuseum will have you reconsidering this notion. Upon entering the first room, you spot the still life of a dead hare and faithful recreation of an early morning view of Amsterdam’s famed Singel canal.

The next few halls continue in the same vein, showing dozens of bucolic and, at first glance, traditional landscapes and depictions of the sea, dunes and windmills. In total some 300 of the artist’s works – a quarter of his entire output and almost the entirety of the museum’s Mondrian collection – are on show in the exhibition titled ‘The Discovery of Mondrian.’ Many of them have never seen before by the public, but rediscovered by the museum staff during a massive restoration project between 2009 and 2015.

The little-known early work is important believes curator Hans Janssen, as it shows just how innovative and modern the artist truly was.’ He speaks of the ‘sense of depth’ that carried through to his later work, the visibly sophisticated brushwork techniques (‘the working of the paint’) but also of something else: ‘At first glance some of them look like 19th century rubbish but they have a quality that is very hard to describe and that has to do with a sense of inner self’. Indeed there is a sense of quiet spirituality and optimism that is a constant in all the work, as well as a potent luminosity that lifts the work out of the mundane. (…)